Our History

The Journey Begins…

In the early 1970’s, Arts Access Victoria founder Judy Morton was working in the welfare sector, concentrating on researching community service issues. In 1973, a visit from Betsy Hite – arts management consultant and founding member of Hospital Audiences Incorporated (HAI) in New York – provided Judy with the inspiration to shift the research into action.

Judy investigated the feasibility of creating a local arts body, like HAI, to organise visiting theatre performances in hospitals, prisons and disability institutions and to distribute low cost or free entertainment tickets. Hite’s research identified fertile ground for such a project in Melbourne, with its established philanthropic sector, a vibrant arts industry and the emergence of a strong community arts movement.

In 1973, Judy successfully applied to the Australia Council with a submission for a six month pilot project. With additional support from the Myer Foundation and the R.E. Ross Trust, Arts Access began as a one-person community arts project on 1 April 1974, auspiced by and based at the Victorian Council of Social Service in Collingwood.

Judy continued as Executive Officer until 1977, by which time Arts Access was located at the Victorian Arts Council and had developed a philosophy of artistic practice and a breadth of programs that distinguish Arts Access from other organisations of its kind both here and overseas. Unfortunately, with no continuous source of administrative funding and despite a public appeal, the programs were suspended at the end of 1977. However, great ideas refuse to die and early in 1979 after much voluntary effort from an enormous support network, Arts Access was formally constituted and programs resumed with a small grant from the Schools Commission.

1980s

In 1980 there were a number of breakthroughs. After some intense lobbying, Judy succeeded in winning a small grant for Arts Access, which was the starting point for organisational growth and the ongoing State Government support that Arts Access receives today. In that same year, Dinny Downie was appointed Executive Officer.

A major period of financial and organisational growth into the mid 1980s brought a diversification of arts projects and the cultivation of major long-term artistic programs. Advocacy, information and resource programs grew, and the promotion of the arts through training workshops began throughout regional Victoria.

1982 was a major year for Arts Access, in which the organisation received broad public attention through a project called Theorem. Chilean artist Aldo Gennarro was employed to run a series of arts workshops for people with disabilities, which culminated in two sell-out performances at the Melbourne Concert Hall (now Hamer Hall).

In 1985, Arts Access moved into an office in the emerging arts precinct at Southbank.

During the late 1980s, a succession of innovative Executive Directors and program staff developed the major streams of activity that now constitute Arts Access’ core programs.

With Kate Brennan, an enhanced ticketing program was re-established in 1987 as EASE – the Entertainment Access Service. In 1989, the Resource Unit and the Arts Access Studio were established.

The groundbreaking Arts Access pilot program at Larundel Psychiatric Hospital in 1987 was eventually taken over by the hospital with permanent staff positions created for artists – a precedent for psychiatric hospitals in Australia.

1990s

The National Participate Conference, hosted by Arts Access in 1990, set the scene for the emergence of the DADAA network (Disability in the Arts, Disadvantage in the Arts in Australia).

With Judith Isherwood as Executive Director (1991-94), major national promotional activities began, including the Healthy Arts Project, touring exhibition Stormy Weather, development of the national DADAA Network, and exploration of new opportunities in the Asia Pacific region through the China Cultural Exchange Program.

Under the leadership of Helen Bowman (1994 – 97), the effectiveness of the core activities was enhanced by new initiatives, including an expanded training program, a broader role for EASE within the arts industry, and applications of new information technologies to open expanded cultural opportunities for Arts Access. Arts Access was a finalist in the Victorian Community Foundation Awards for Service to the Community in 1994.

Under the direction of Jane Haley (1997 – 2000), Arts Access pursued a new strategic direction that built on the respected profile and demonstrable outcomes achieved during the past 25 years.

In 1998, Arts Access assumed responsibility for its own financial management and administration and reinstated the position of Public Relations Manager. The Arts Access Enterprise Agreement was negotiated between the Board and staff to ensure equity and clarity in employment terms and conditions. New equipment and skills were acquired to enable Arts Access to work towards leadership in the application of digital technologies.

In late 1999, Arts Access moved to new, purpose designed premises in Eastern Road (our current location) that are a model of accessibility and demonstrate the organisation’s position as a professional arts organisation. In October 1999, Arts Access presented Verve!, a national symposium on arts and disability, at Gasworks Arts Park in Port Melbourne, bringing together practitioners and managers from around Australia.

2000 and beyond

2001

• Nicole Beyer appointed Executive Director

2002

• Arts Access coordinated an Arts Festival for the 13th Inclusion International World Congress comprising film, visual arts and performing arts programs.
• Invitation for Fiona Hanrahan, Access Manager to participate in review of the Smithsonian Institute’s Access Guidelines, Washington DC, August.

2003

• Artscreen Online gallery launched by Minister Bronwyn Pike. Showcasing community and professional art from a partnership between Breastscreen Victoria and Arts Access from 1998 to 2003.
• Handover of AAV program Art Day West to the Footscray Community Arts Centre.
• Third year of partnership with Melbourne International Arts Festival results in the most accessible festival ever, with a focus on Deaf audiences through the Deaf Arts Network.
• Huge farewell for Chair Alan Moor, and awarding of life membership for his 28 years of passion and committment to Arts Access.

2004

• Ruth Whittingham, Artistic Program Manager, awarded Ethel Temby Study Scholarship to travel to the UK.
• Oscar-winning filmmaker Adam Elliot becomes patron of Australia’s first disability film festival, The Other Film Festival, presented by Arts Access Victoria, December 2004, at the Melbourne Museum.

2005

• DADAA National changes name to Arts Access Australia, and a new national Memorandum Of Understanding is adopted.
• Criena Gehrke appointed Executive Director

2009

• Veronica Pardo appointed new Executive Director

The Road Ahead

2009 saw AAV reflect on its role and direction in light of a number of key events. The first was Australia’s ratification of the United Nations Convention on the Rights of Persons with a Disability. The second was the development of the National Arts and Disability Strategy by the Cultural Ministers Council. Both of these highlight the rights of people with a disability to participate fully and contribute in meaningful ways to arts and cultural life in Australia. What role, then, can organisations such as Arts Access Victoria play in progressing the aspirations of people with a disability and addressing the many obstacles that prevent them from enjoying the benefits of citizenship? This has been the topic of much dialogue within our organisation and amongst our stakeholders. The feedback has been robust and challenging, identifying a need to be more strategic with our resources, to collaborate and build the capacity of partners, and to promote the role of people with a disability as leaders and cultural innovators.

Watch this space for further updates and developments in 2010!